Presentations*

THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN

Ballet Nacional Espanol

ANTONIOGuest Choreographer

MARIA DE AVILA Director

ANGEL PERICET Assistant Director

Principal Dancers

Paco Romero

Conchita Cerezo Ana Gonzalez Juan Mata Paco Morales Felipe Sanchez

Begona Astuy Adelaida Calvin Adoracion Carpio Nuria Castejon Cristina Catoya Marta Farre Javier Baga German Cabrera

Corps de Ballet

Javier Garcia Antonio Gomez Nestor de Lara Antonio Marquez Ma Jesus Garcia Macarena Rosa Maria Monserrat Marin

LUISILLO Guest Choreographer

Soloists

Aida Gomez Lupe Gomez Carmen Vargas Marcela del Real Paco Morell Antonio Salas

Luisa Samper Ilidia Solbes Ricardo Monte Antonio Reyes Manuel Segura Jose Talavera Jose Tauste

Flamenco Singers (Cantaores): Manuel Palacin, Talegon de CordobaGuitarists: Juan Espin, Luis Carmona "Habichuela," Jose Ma Molero, Luis PastorAlternate Guitarists: Francisco Moreno Garcia, Luis Perez Davila

Ballet Masters Aurora Pons Juana Taft

Regisseur Felipe Sanchez

Ballet Masters of Spanish Dance Victoria Eugenia Martin Vargas

WEDNESDAY EVENING, SEPTEMBER 28, 1983, AT 8:00POWER CENTER FOR THE PERFORMING ARTS

ANN ARBOR, MICHIGAN

First Concert of the 105th Season Thirteenth Annual Choice Series

SONATASChoreography: ANTONIO Scenery: CARLOS VIUDES Music: PADRE ANTONIO SOLER Costumes: JOSE CABALLERO

Recording directed by BENITO LAURETMaster of Ceremonies: JOSE TAUSTE

Spanish music of the 18th century, composed by the Padre Antonio Solcr for his pupil and friend, the Infante Don Gabriel, and the Spanish court.

In F-sharp minorAlabarderos: A. GOMEZ, R. MONTE, J. TALAVERA, J. GARCIA, J. BAGA,A. MARQUEZ

In D majorPACO MORALES, JUAN MATA, A. CARPIO, M. FARRE-MACARENA, M. MARIN

In D majorANA GONZALEZ, JUAN MATA, PACO MORALES

In D-flat majorLUPE GOMEZ, and A. CALVIN, C. CATOYA, L. SAMPER

In F-sharp majorCONCHITA CEREZO or AIDA GOMEZ

In G majorPACO MORALES or JUAN MATA

In F majorCONCHITA CEREZO, ANA GONZALEZ, JUAN MATA, PACO MORALES,Soloists and Corps de Ballet

Infanta Dona Margarita: MARCELA DEL REAL Ladies and Gentlemen of the Court

Padre Antonio Soler was born in 1727 in Olot, Gerona, and studied at the Escolania de Montserrat in Barcelona. Later he moved to the monastery of El Escorial near Madrid, where he lived and worked until his death in 1783. He was one of Spain's great 18th century composers of keyboard music, and his work became well-known throughout Europe. He was greatly influenced by Domenico Scarlatti, but his technical mastery enabled him to be very daring in his compositions, particularly in his modulations, which gave his music a special lightness and charm. Soler injected his keyboard music with the color, rhythm, and melodic qualities of Spanish folk music. Some of h'is Sonatas also illustrate his tendency to write descriptive music.

(pause)

ZAPATEADO

Choreography: ANTONIO Music: PABLO SARASATE

Danced by PACO ROMERO

FLAMENCO SUITE

Dances

Alegrias — This is one of the oldest flamenco dances, considered the purest, most refined and dignified in the Spanish repertoire.

Bulerias — The steps of this dance are similar to those of the Alegrias, but are faster and more lively.

Farruca — This is the flamenco dance that shows the most Gypsy influence.

Soleares— This, along with Alegrias, is said to be one of the original flamenco dances.

Tango — The steps in this dance are simpler and heavier than in some of the more refined flamenco dances, such as Alegrias, but have more emphasis on floor patterns.

Zambra — This dance is of direct Moorish origin and is performed exclusively by women.

Zapateado —Characterized by staccato footwork and rhythmic stamping, this dance gives the "bailaor" ample opportunity to demonstrate his creativity and agility. There is no singing in this dance and it is essentially performed by men.

The exact roots of the flamenco tradition are subject to question, but it is known that the songs

and dances that constitute flamenco came from Andalusia, the southern region of Spain. According

to Manuel de Falla, there were three basic influences on the formation of flamenco: the Church's

adaptation of Byzantine chants, the invasion of southern Spain by the Moors, and the migration of

Gypsy tribes to the same region.

In flamenco, there is a basic rhythm which remains constant and is embellished by counter-

rhythms and improvised dance steps. Initially the dances were accompanied only by singing and

hand-clapping. Guitars were added later, resulting in a flamenco ensemble of "cantaores" (singers),

"bailaores" (dancers), "tocaorcs" (guitarists), and "jateadores" (beat setters). Flamenco song is

divided into two categories: "canto chico," the lighter, more joyous form, and "canto grande" or "canto jondo," the purest flamenco song, more melodramatic, and charged with human anguish and

tragedy.

The characteristic vigor of flamenco comes from the tension created by the constant juxtaposi- tion of the fixed rules and the individual performer's interpretation. The possibilities of what a

performer can do arc limitless and result in the famous flamenco performances in the cafes that go on

long into the night.

INTERMISSION

The 1983 North American tour of the Ballet National Espanol is under the sponsorship of the Joint Hispanic — North American Committee for Educational and Cultural Affairs, an official government-to- government Spanish-American organization dedicated to developing and improving cultural relations between the two countries.

EL SOMBRERO DE TRES PICOS(The Three-Cornered Hat)

Choreography: ANTONIO Music: MANUEL OE FALLA Sets and costumes: PABLO PICASSO

Story by Gregorio Martinez Sierra, based on the novel by Pedro Antonio de Alarcon, "El Corregidor y La Molinera" (The Magistrate and the Miller).

Miller's Wife ......................... ANA GONZALEZ or CONCHITO CEREZO

Miller ........................................................ JUAN MATA

Magistrate. ................................................ ANTONIO SALAS

Chief of the Guards .......................................... PACO MOUELL

Magistrate's Wife ............................................ ROSA ALVAREZ

Soloists and Corps de Ballet

The Three-Cornered Hat is set in the esplanade of a mill which serves as the gathering place of the villagers, where they listen to the amusing adventures of a Magistrate who is in hot pursuit of the beautiful and mischievous wife of the Miller. One day, the Magistrate tries to seduce the Millcress. Her husband, who has witnessed the scene, pretends to come to the Magistrate's assistance and, on the pretext of brushing the dust from his clothes, gives the Magistrate a good thrashing. The Magistrate, who is more than a bit irritated by this treatment, leaves, uttering threats against the Miller.

The next scene takes place on the feast of San Juan, a night for the villagers to dance and otherwise amuse themselves. But the festivities are interrupted by the arrival of the intriguer Garduria and his guards, who arrest the Miller on a false charge, leaving the field clear for their Chief, the Magistrate. The Milleress is surprised by the Magistrate, but she defends herself against his renewed advances with such spirit that the Magistrate falls into the stream; the Millcress takes this opportunity to flee. Meanwhile, the Miller has freed himself and returns to the mill. When he discovers the Magistrate's hat he comes to the conclusion that the Magistrate has achieved his lascivious aim, and he decides to take immediate revenge. Drawing a caricature of the Magistrate on the wall and taking the Magistrate's hat and cape, the Miller disappears.

The farce culminates when the Magistrate returns to the scene, sees his caricature, and flics into a rage. The guards arrive, and seeing the Magistrate without his hat and cape, mistake him for the Miller and try to arrest him. A battle ensues which eventually involves the whole village. The hated Magistrate, the focus of all the commotion, gets his just rewards.

Coming Attractions in the Power Center

Oct. 7 & 8: Puccini's "Madama Butterfly" Dec. 16-18: Tchaikovsky's "Nutcracker"Oct. 26: Caracas New World Ballet Jan. 16: Welsh National Opera ChorusOct. 29: Kozlovs and Stars Jan. 27- 29: Paul Taylor DancersNov. 2: Soviet Emigre Orchestra March 5-7: Oakland Ballet

UNIVERSITY MUSICAL SOCIETYBurton Memorial Tower, Ann Arbor, Michigan 48109 Phones: (313) 665-3717, 764-2538